In symmetry lies the promise of superior genetic material, which humans ultimately relate to the promotion of the survival of their species. This might explain why we, as humans, also equate beauty and attraction with symmetry. Keeping this in mind, what, among all other things, can be more indicative of a sense of integral symmetry than a perfectly formed crystal? Maybe it is for this reason that gemstones are generally seen as the perfect accompaniment to the human body. Human beings’ age-old fascination with crystals and their intrinsic beauty has created the need to associate these objects directly with their bodies. The gemstone industry has, therefore, since the original interest in gems, walked hand in hand with the jewellery or goldsmithing industry. To enhance the wondrous beauty of a natural crystal, the success of the design of that which encases it and enables it to be worn rests significantly on the designer’s ability to create harmony and balance within the design of the jewellery piece, which envelops the gemstone.

The design process cannot possibly be described as a purely rational thought process. At the same time, it consists of the necessary elements of development. Before the start of this process, the designer needs to know within which boundaries he or she is working; in other words, which restrictions are placed upon the design. Thereafter, an open and active imagination becomes the designer’s best tool and friend. Now the designer can place rough ideas on paper, which is then repeatedly refined until the desired visual effect of the design is combined with a practical understanding of its construction and workings, as well as the production processes that will be used to manufacture it. This is achieved through careful negotiation between the pleasing visual components of the design and the practical or useful and manufacturable elements, which include the needs of the client or target market for which the designs are produced. Eventually, final renderings and technical drawings are made of the piece before it is created.

When the designer is given a specific requirement to work with, such as working with a particular gemstone, which in this case would be Tanzanite, they need to understand the gemstone’s restrictions fully. This is considered, as it might restrict the size, function or wearability of the jewellery piece and therefore also ultimately the type of jewellery piece manufactured. In the case of Tanzanite, the stone’s relative softness causes the stone to possess a relatively poor resistance to scratching, breaking and chipping, which therefore restricts how it can be used. Tanzanite is consequently far more helpful as a gem used instead in neck pieces, earrings and brooches, than in rings that are worn on an everyday basis, such as engagement rings. There is, however, a lot of dress rings containing multiple-carat Tanzanite stones on the market today. These are supposed to be worn as dress rings only and are not meant to be worn every day. Tanzanite is found in big, clear crystals and is therefore ideal for large dress pieces, especially neck pieces. The beautiful violet-blue colour of the gemstone is most prominent in bigger stones, which makes it suitable for larger pendants and drop earrings. Stones are also marketed in a wide range of convenient cuts and sizes, which gives the designer greater freedom of choice. All of these factors guide the designer in their design choices. As a result of Tanzanite’s relatively recent appearance on the world market, it is marketed as a gemstone, which is fresh, new and modern. According to this, it carries the image of being classic and getting modern, elegant, straightforward and yet fresh. Its colour is exceptionally well suited to the colour of white gold and platinum, which has in recent years become increasingly popular as a medium in which to set valuable gemstones. This encourages its modern image. Tanzanite can also be used to significant effect alongside white diamonds.

From a manufacturing jeweller’s point of view, the use of these stones can sometimes be problematic. No intense heat should be brought near the rocks as they may shatter. This makes the repair of jewellery very difficult and makes the resizing of rings impossible if the stone is not first removed from its setting. Tanzanite should also never be put into an ultrasonic cleaning instrument, as the stones may crack. As Tanzanite is relatively rare as a gemstone, a thousand times rarer than a diamond, the inclusion of it into a piece of jewellery should be considered with much care. When acquiring a gem of such value, one would want the design of the setting to complement the rarity and the uniqueness of each stone. This is even more relevant when using larger gemstones of great value. The design and the elegance of the metal constructed around the stone should be unique and timeless, enhancing the gem’s rarity and preciousness. The piece of jewellery, which incorporates this beautiful, unique stone, should be able to be passed on to further generations, remaining fresh and relevant.